Phantoms of the Orient: An Evening with Vhan of Aek Gwi!!

This picture was taken from Vhan's recent attempt
at a black metal version of "to be, or not to be..."

I don't think I've seen the sun in days.   Maybe weeks.   This has actually been a pretty warm December so far here in a land known for its relatively cold winters.   It's already the middle of December, and so far it's just been kind of cold and wet outside (except for a brief snow flurry that immediately melted).   While I am excited for the inevitable onslaught of ice and snow (perfect for grim black metal, of course), I'm taking advantage of the current shitty weather situation by listening to a recent discovery in my exploration of Korean black metal-- a mysterious entity known as 厄鬼 (Aek Gwi).   The shadowy figure behind Aek Gwi is a veteran in the Korean black metal scene, and gone by several various pseudonyms, but currently he is known simply as Vhan.   Vhan has had quite a lot on his plate within the last few years.   Not only has he been involved in various other bands/projects in the past (besides Aek Gwi), but he also (up until a few months ago at the time of this writing) ran Misanthropic Art Productions (formerly known as The Black 666 Productions) and its sub-label, Berserk Ritual Productions, as well as running and doing artwork for Misanthropic Art Production's art and design team, Misanthropic Artworks (which, by the way, is some of the best metal artwork I've ever seen in my life!!!   Truly amazing stuff!!!   Oddly enough, he's also done some art and logos for various NSBM bands, but we won't get into that here).   I'm sure he also has a day job as well.   Busy dude!

As I was saying, I haven't seen the sun in days.   I can't tell if it's because it's just winter and an especially rainy time right now or if it's because of the insane amounts of pollution that China has allegedly been spewing all over East Asia (more so than usual), but the outside has either been dismal, cold, and wet, or just surreal, like right now where everything I can see outside my window in this sprawling Asian metropolis seems to have a strange yellow hue.   Anyway, it's the perfect setting for a Korean horror movie :)

Which brings us to Aek Gwi.   The latest album that was released earlier this year, Forest of Ghost (could have used a bit of editing with that title), is some really cool ritualistic black/doom metal, kind of similar to stuff by Nortt, Xasthur, Wormphlegm, Blood of the Black Owl, and maybe even Beherit as well.   I think I've talked about this before, but I remember truly realizing the potential of this kind of metal not just as some shit to listen to in a dark room in order to have a quasi-mystical experience (which I wholeheartedly support, don't get me wrong), but also as a killer soundtrack to play as a substitute soundtrack for movies as well.   I haven't done this for Aek Gwi yet (not sure which movie or film clip I would pick), but I know at least know for a fact that both Wormphlegm and Electric Wizard make excellent soundtracks to Conan the Barbarian (1982) and Häxan (1922), respectively.

When listening to this album, I feel like it's absolutely essential to isolate yourself in like your room or somewhere with all the lights out, making it as dark as possible, in order to really get the full experience.   Maybe even light a candle or something.   Next, put on your headphones or earbuds and allow your imagination to wander...

For me, I began to envision a scene which takes place during a rainy, warm summer night at a Buddhist temple in the middle of a forest somewhere in East Asia.   However, inside a strange, perhaps unorthodox, (un?)holy ritual is taking place, in which a small group of monks are attempting to either speak with and/or summon the spirits of the dead.   Eventually, the spirits are conjured forth, but they are malevolent and chaotic, and the monks there begin to chant and play the flute or maybe some other traditional musical instruments in order to try and control, or at least pacify, the spirits so that they can properly communicate.   As to what exactly is supposed to be gained from communicating with the dead in this particular situation is unknown, but the monks are hoping to perhaps at least receive some sort of message or (inevitably) nightmarish hallucination/vision.  At this point everyone is kind of subdued and on their own "trips", so to speak, as the spirits of the deceased communicate telepathically with them as the temple walls and roof creak and groan due to the heavy wind that has recently picked up (despite the fact that they're in the middle of the woods).            
Interview conducted via internet in December 2015.


Interview:

WULF: Who are you?   Please give us a brief history of Aek Gwi.   What does "Aek Gwi" mean?   Why do you use Hanja and not Hangul when writing the band name?

VHAN:  Greetings!   First of all, thanks for the interview.   I think this is the first interview for Aek Gwi.   The band name "Aek Gwi" is written "액귀" in Korean and "厄鬼" or "縊鬼" in Chinese (edit: maybe he's talking about this?  I'm not sure), which is a ghost associated with suicide in Chinese mythology as well as from the Korean novel Toji.   It's a ghost which brings you misfortune.   In Chinese mythology, the 縊鬼 seeks vengeance or revenge and will drive you to kill yourself by hanging when it appears to you.

WULF:  Is Forest of Ghost a concept album?   Thematically, I imagine this album is about ghosts, death, etc.   Is it about any ghost stories or metaphors in particular?   What were you hoping to accomplish with this album?   What is the message?

VHAN:  There is no message with the album.   I just made the "Forest of Ghost" album like a horror movie.   I want to expose the concept of Asian ghosts to other people in the world.   In the East, these ghosts are more scary than vampires, zombies, or Satan.   That's why I chose these ghost mythologies as the concept for my black metal music (joke).  


WULF:  Are you interested in Korean ghost stories?   What is your opinion on Korean and/or Asian horror movies in general?   I just watched A Tale of Two Sisters (장화, 홍련) (2013) and thought it was a great movie!!

VHAN:  Honestly, I don't like Korean ghost movies or stories that much, because they're really boring and generic/played-out.   There are a lot more bad horror movies than good ones.   There are also ghost stories on the internet too that are obviously fake, and I fucking hate that.   So personally, I prefer classic Western horror movies over the Korean ones.   For me, I was really impressed by the Korean movie 혈의 누 (Blood Rain), which is actually not a horror movie.   The music of Aek Gwi is influenced by the TV series 전설의 고향 (Ghost Stories).   It's also a classic Korean horror novel which I read when I was young.   The concept of the music of Aek Gwi is also from the Korean folk story 장화, 홍련 (The Story of Janghwa and Hongryeon).

WULF:  Why did you close your label and your art production and stop doing all your other bands besides Aek Gwi?   What happened?

VHAN:  I already have mentioned about my financial situation (as the reason why I had to stop) on Facebook and my label's website; my domestic economical situation isn't good. My income has been in bad shape and rent has been rising.  Realistically, I couldn't keep the black metal label as my primary job in Korea.   I've stopped making music temporarily and sold my instruments to make cash, but I will never give up.  That's why I don't do the music now.   As for my other band, Origin of Plague, I went back over the music and felt like the music was pretty shit, so that's why I want to compose again.   As for Aek Gwi, I'm still writing music for that.   If I have some extra time or money then I'll record more music.   As for my artwork, I don't have enough time and there are so many people who are better artists than me, so I feel like "what's the point?"   So I don't get any orders for artwork, and also I just want to have the freedom to draw what I want, not for a job.

WULF:   Has Aek Gwi ever played live, or is this something that you are interested in for the future?

VHAN:  It's important for bands to play live, but I'm not going to have a live show because I don't want to be around people.

This is the artwork for that upcoming split he's talking about
with 头发河 (Harrfluss), Begräbnis, 纳骨堂 (Ossuary),
 and, of course, Aek Gwi.

WULF:  Do you believe in ghosts, or have you ever seen a ghost?   What is your opinion on death, the possibility of an afterlife, etc.?   Do you fear death?

VHAN:  It would be a lie if I said I'm not afraid of death.   I've also never seen a ghost in real life, but I've had my own strange experiences.   I kind of believe in the existence of spirits, but not necessarily 100%.

WULF:  Is there any literature you would recommend for your fans to check out which can help us understand your music better?   What books or writings have influenced your music and/or your life?

VHAN:  I already answered this question earlier.   If you want to understand the concept of my music, you can see the TV series 전설의 고향.   I think my earlier music isn't good because I was drinking and didn't make enough of an effort, but now that I'm making more down-tempo music and I'm influenced by Beherit, Goatlord, Nortt, Teeth of the Lions Rule the Divine, Enemite, and Hellhammer.   I'm most influenced by the Chinese dark ambient band Enemite.   This is the band that I respect the most.   It shows us what Oriental horror is in a truly extreme way.   Not long ago, Dani of Goatwarex suggested I do a split with the black metal artists Harrfluss (project of Li Chao), Aek Gwi, Begräbnis (from Japan) and 纳骨堂 (Ossuary).   I think this opportunity doesn't come that often, especially with the best Chinese metal label, Goatwarex, so I'm really happy about that.

WULF:  What are your plans for the future? Why did you decide to stop Misanthropic Art Productions and Misanthropic Artworks? Do you have any plans to revive your other bands or start new bands?

VHAN:  I don't know about any future plans.   I just have a really busy life, and maybe for some while I can't do black metal because of my work.   The first thing for me is living a normal life.   Maybe you know this if you live in Korea.

WULF:  Those are all the questions I have, thanks so much for the interview! Any final comments?

Thanks for the fun questions, there's nothing else that I want to add.

Edit:  Of course, before I finished writing this article, it started to snow, which kind of ruined the whole eerie, mysterious vibe I was going for.  Now it's just an absolutely beautiful winter wonderland outside and makes me want to listen to some majestic frosty black metal or something.   Anyway, winter is no longer coming, it's here!! :D   

Special thanks to Gumiho (구미호) for help with the translation!

Listen and support Aek Gwi's music: https://aekgwi.bandcamp.com/
Keep updated about Aek Gwi: https://www.facebook.com/aekgwi

Interview with Bestial Desekrator of Sexual Fornications and Goetic Ritual of Nocturnal Damnation!!

Interview conducted via email in August, 2014.   

Thanks to Gumiho (구미호) for the translation from Korean to English.

It took fucking forever to get this interview done, which was entirely my fault.   Anyway, there's been a few updates since this interview took place- at the time of this writing, Goatphomet is on hold since earlier this year, and Nocturnal Damnation has acquired a new member, Patiwat (Zygoatsis, Masochist), a well-known figure in the Thai underground black/death metal scene.   Also, Nocturnal Damnation released a split with Goatchrist666, "A Domination of Tyrant's Necro-sodomy", earlier this year through Inhuman Assault Productions.

Listen and support Nocturnal Damnation's music: https://nocturnaldamnation.bandcamp.com/

Keep updated about Nocturnal Damnation's music:  https://www.facebook.com/OfficialNocturnalDamnation/

Check out Nocturnal Damnation's official website:  http://goatwar.egloos.com/

WULF:  It seems like you're in two bands right now, Nocturnal Damnation and Goatphomet.   Tell us a bit about these bands.   Also, why did you change the name of your old band, Adokhsiny, to Goatphomet?   And what does "Adokhsiny" mean, exactly?

Bestial Desekrator

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:  Hails (Wulf)! It is a pleasure to do this interview with you.   Simply saying, Nocturnal Damnation and Goatphomet are Black/Death Metal bands, but stylistically both bands are quite different.   Nocturnal Damnation is bestial black/death metal influenced by Blasphemy, Black Witchery, Sarcofago, Beherit (old), Goatpenis, Naked Whipper, and Bestial Warlust, and Goatphomet plays ritualistic black/death similar to Goatlord, Archgoat, Teitanblood, Nocturnal Blood, Void Medication Cult, Sperm of Antichrist, Embrace of Thorns.   The reason why I changed Adokhsiny's band name to Goatphomet is because I wanted the name to be more black/death metal-sounding.   I thought about it a lot, and it just wasn't the style that I wanted even though I wanted to play black/death metal when I reformed Adokhsiny.   As for the name, Adokhsiny means "Ancient Korean ghost name" (edit:  I still don't know what he's talking about here)!

Patiwat

WULF:  On all of Nocturnal Damnation's records, the instruments are played by Infernal Saviour of Nuclear Onslaught and Warmageddon, from Spain.   How did you meet this guy, and why did you decide to collaborate with him?   As for Goatphomet, it looks like you're in that band with fellow members Nuclear Vaginaliax and Rotten Clitorias Vengeance and H. Goatkommander.   Are these current members Korean as well?   The reason why I ask is because the former members of Adokhsiny were originally Koreans, but eventually the Korean members left and you were joined by members from other countries (such as Devoured and Tormentized from Malaysia, and Obispo from The Phillipines).   How did you meet these guys?   Wasn't it difficult to write music with members in different countries?  

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:  I remember that I knew about Infernal Saviour coincidentally.   At that time I ran an underground label that he wanted to release his album through, and I thought this was a good idea.   So I released two of his albums, and then we started to talk about many things.   I asked him to help me with Nocturnal Damnation, and he agreed.   That's how we started recording together.   So I think that the reason we worked together is because we wanted to help each other, but now he's not in the band.   Honestly, I don't want to talk about Infernal Saviour because he's not a member anymore.   On the internet, there's a lot of bad gossip or rumors about me and my band, so I don't want to talk about him anymore.   As for Nuclear Vaginaliax and Rotten Clitorias Vengeance, he's Korean, and H. Goatkommander is a member of the Peruvian black/thrash metal band Hell Torment.   He helped me as a session musician on Goatphomet's demo.   As I told you, knowing about friends from other countries is because I ran an underground label, so I helped them with the releases of their albums.   I wasted a few years seeking band members in Korea, so I gave up having Korean members.   This is one of the reasons why I work with foreigners.   There is some inconvenience working on music this way in Korea but I'm used to it by now, so it's not that hard for me.

WULF:   You've said before that you don't really associate with the rest of the bands in the Korean metal scene.   Why?   Are there any worthwhile bands that you DO associate with or recommend checking out?   Also, since the Korean metal scene is so bad, where you like to be instead?

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:   I used to hang out with Korean bands around 2002-2003, when I was younger.   I was just beginning to play music.   Honestly, I still haven't met people or bands here that suit my musical tastes.   There are so many trendy bands in Korea, and they just aren't my style, so it's hard to hang out with Korean bands for me.   But also, I don't have much interest in this kind of music, such as metalcore, melodic death, post-thrash, slam, brutal death, melodic black metal, etc.   So I don't feel any necessity to check out these kinds of Korean metal bands.   Sometimes I check out new Korean bands, but they're usually just metalcore or melodic death, or it's just news about new music by (popular Korean metal bands such as) Sahon, Oathean, Silent Eye, Method, etc., so I don't have much interest in this.   But if there's a really good black/death metal band with an underground aesthetic, then I'd love to support them.   But I'm afraid that I haven't seen that kind of band yet (Kalpa is/wasgood, even though they're a different style from my music, but I still feel like I'd like to listen to them if they released a new album).   Honestly, I've always thought that I'd rather work on music or tour in Germany, Italy, USA, Brazil, Peru, Colombia, etc. than in Korea.   

WULF:  Obviously, you use dark and violent imagery in your music and artwork.   How much of a role does Satanism or a belief in the occult play in your everyday life?   Is there a specific philosophy or spiritual belief system you adhere to?   At what point in your life did you begin to explore "the dark side of life" (the Left Hand Path).   Finally, is there any literature of other non-musical art that you find particularly meaningful or influential?

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:  Well... I'm actually an atheist! I don't believe in Satan but when I write lyrics I'm influenced by Satanism, occultism, demonology... It's a musical theme rather than my personal life philosophy.   I'm not a philosopher so it's not easy to explain about specific philosophies, but I adhere to the philosophies of Johan Wolfgang von Goethe and Friedrich Wilhelm Nietzsche.   Actually my life has not been smooth, and I haven't been happy since my early school days.   So because I was always alone I began to search for extreme metal music.   I like books or movies about Satanism, the occult, and they inspire me (as well as Johan Wolfgang von Goethe's "Faust", Friedrich Wilhelm Nietzsche's "Also Sprach Zarathustra", "Anti-Christ" and occult horror films such as "Alucarda", "The Devils", "The Exorcist", "The Devil's Rain", "Escalofrio (Satan's Blood)".... and plus "Devils Inside Her"(1977 Adult horror, hahaha).   I want to read books about demonology but it's hard to find these books in Korean, so I just do research and read about this on the internet even though it's still hard to understand completely.

WULF: On the other hand, I'm sure you have some guilty pleasures as well in terms of music.   I know you probably have lots of violent, bestial war metal in your record collection, but what is the most embarrassing album you own or enjoy listening to?   For example, I'm a huge fan of Celtic Frost's "Cold Lake", even though it's considered by many to be one of the worst metal albums of all time.

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:  Well, I've already sold the albums that I think are the worst, so I don't have any records that are embarrassing in my collection.   But some albums made me disappointed or embarrassed.   I'm a huge fan of Morbid Angel but "Illud Divinum Insanus" record was one of the worst albums so I was really embarrassed, but on the other hand it's kind of fun/funny.   Their earlier albums and demos are classics, but their recently albums are really disappointing, so I don't listen to them anymore.   I think the it's better to listen to earlier stuff like German thrash legends Kreator, Destruction, Sodom, and Celtic Frost, too.   It's better for me to listen to the records that I have or bestial black/death, black/thrash, old school death/thrash, or NWOBHM, rather than listening to theerrible albums.

WULF:  The West is terrified of North Korea.  While it's obvious that most South Koreans don't give much of a shit about North Korea and all of their empty threats and war-mongering, no one can deny that the North Korean people are pretty isolated from the rest of the world.   I would assume that most Western music is forbidden, especially something as volatile as heavy metal...similar to how things were for the Eastern Bloc countries dominated by the Soviet Union in the 1980's.   My question is, if you had the chance to perform a live show there, would you do it?   If so, how do you think the people would react to your music?   I know this is completely unrealistic, but I think it's an interesting scenario to think about.

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL: It's a fun question, but I don't like to talk about politics.   It's true that Koreans don't care and North Korea bans Western music, but I'm not interested in North Korea and usually it's about the politics.   So even if there was a chance to perform in North Korea, I'm not that interested.   Also, I think the people in North Korea wouldn't react well.   I'd rather just kick that pig Kim Jong-un's ass instead, that would be more fun hahaha.

WULF:  What are your plans for the future of your bands?   Any new releases coming up?   What about live performances?   What do you hope to accomplish with your bands?

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL:  Currently Nocturnal Damnation is working on new songs with a new member.  I'm planning on releasing a split 7" and an EP, but I haven't found a label yet.   Goatphomet is planning to work on new music this fall or winter, but I'm not sure.   I really want to perform live, but I can't because I don't have any members here to play with.   If I can, I'd rather perform Southeast Asia or Europe than South Korea.   And I want to show that Nocturnal Damnation and Goatphomet are not just studio-only bands (I don't like studio, one-man bands!!!!).

WULF:  That's all the questions I have.   Any final comments are yours...

BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL: Hail the Goat!!!   Death to false!!!

Interview with Invisus of Terra Australis!!

Invisus

Interview conducted via e-mail in March 2015.

Listen and support Terra Australis' music: https://terraaustralis.bandcamp.com/releases
Keep updated about Terra Australis: https://www.facebook.com/TerraAustralisBlackMetal
Terra Australis' Youtube Channel: https://www.youtube.com/user/SatansSoldiersElite
Terra Australis' Official Site: http://terraaustralisband.com/

WULF:  There isn't too much information I can find about you guys...you are quite mysterious!   Give us a brief history of your band up to this point. 

INVISUS: The band began in mid 2008, release a few independent demos over the next 2-3 years. It originally had a more DBSM-type edge to it, but with the joining of new members and just time itself its become far more 80's death, thrash, black metal inspired. But still retains that atmosphere that it was originally founded on.

WULF:  Another obvious question we have to get out of the way...   You just successfully completed what appears to be your first tour of Japan.   How was it?   How did the Japanese metalheads react to your brand of evil-as-fuck black metal? 

INVISUS: It was our second tour we had done in Japan, the first was with Rotting Christ in 2014, the second tour was more successful than the first from having done the first already and people being more aware of our sound and songs etc. Which is I think the way you would want it, with every tour being better and paving the way for the next one.



WULF:  According to an early interview with Invisus, Terra Australis was intended to just be a solo endeavor... even going so far as to imply that it will always stay that way.   Why did he decide to expand the project into a full band?   Is the band still primarily driven by Invisus, or is it more of a collaborative, group effort at this point?

INVISUS: When I started the band I didn't have much outlook for where it would go and where I wanted it to go, I had been playing in other bands through out the previous years and was tired of the politics that bands can suffer from, so I wanted to do it on my own and have complete control. That ideal I was holding began to shift with meeting and talking with Thorgrim Hammerheart, it seemed obvious to me he was a much better vocalist and would only benefit from being apart of Terra Australis, and that then snowballed into wanting to do gigs and therefore more members. But as for musical and lyrical say so, its still in my hands. I'll still write 80% odd of every release and designing cover art etc.

WULF:   It's clear that Satan / Satanism plays an important role in your music.  Is your concept of Satan literal, metaphorical, or perhaps even a bit of both? Is there a specific form of Satanism or dark philosophy / belief system that unites the band?   Also, are there any writings or works of literature that can help the listener better understand / appreciate your music?   What are you hoping to accomplish with Terra Australis?   This is the sort of question that I really wish we could elaborate on together in detail, as I find this subject fascinating, but unfortunately it's difficult to do via email / internet interviews.

INVISUS: That is a big question with a long answer, to sum it up would be to say, Satan too Terra Australis is the carnal lust for power and destruction that is in every person. The instinct of ambition and domination I guess is another way to say it.  When it comes to literature, philosophy etc we take
certain methods of thought from a lot of places so its hard to name a single book or work that reveals everything, because rule number one in life is no one is always right.  As for what we plan to accomplish is certainly close to that ideal, more power, stronger, heavier. The band itself to become bigger and bigger without a single fucking note compromised for $$.

WULF:  Aside from Marduk, you guys are one of the best live black metal bands I've seen in a long time!   While you obviously have your own sound and style, I really felt a strong old-school Scandinavian black metal vibe (especially from a visual perspective), but with perhaps a bit more melody.  Do you agree with this? For those who haven't had the pleasure, what can people expect from a live Terra Australis show? 

INVISUS: We want to show people that the old school is alive and well, it has not gone anywhere nor will it. Our music is intense so we much be intense with our live performance visually and sonically. Of course we share a love for old Darkthrone, Burzum, Marduk, but also a lot for the real classics like Sodom, Kreator, Sadus, Possessed, Nihilist, Hell Hammer, Celtic Frost, Venom, Bathory, Sabbath, Dio, Priest, Motorhead, and more.


WULF:  It looks like both Warlock Necrofiend (guitars) and Desecrator (bass) recently quit the band, and have been replaced by Morgue and Abysmios, respectively.   What brought about this change in lineup?   Have you considered making Morgue and Abysmios permanent members, or is Terra 
Australis going to remain a 3-piece for the foreseeable future?

INVISUS: Terra for the moment will remain Thorgrim Raven and myself for the moment, With Warlock that was his choice to pursue another band he had started (Deathripper) with Desecrator there was just a mark that he wasn't able to reach.

WULF:  On this Japanese tour you were also joined by fellow Australians Earth Rot and The Arbiter.   Was it through this connection of being a part of the Australian underground metal scene that led you to join this tour, or was it something else?   Do you feel as if you play a role in the local Melbourne black metal scene, or do you prefer to isolate yourself from this sort of thing?   Having lived in Sydney, I'm much more familiar with the New South Wales black metal scene than the one in Victoria... for the most part, is there a friendly / serious rivalry or competition between the two (or even with Perth for that matter!), or do the two not really associate? 

INVISUS: We were offered to play on the tour from a contact in Sydney, and since like I said already touring with the same company the year before. We don't really associate with many other bands and more just do our own thing in our own time. Where there is people there is bullshit, and we decided its best to be avoided. As for Melbourne vs. Sydney, I think that really depends on who you are asking, as for me no not really.

WULF:  Stupid question... but why did The Raven cut his hair?   Long hair may be a huge pain in the ass, but it's also way more evil! 

INVISUS:  Yeah it's shit, but it was a thing he had to do for a new line of work he was taking up. He's not going to be removed over something like that, his dedication to Terra is without question.

WULF:  What are your goals for the future?  Any upcoming tours, releases, or music videos you'd like to tell us about?   Also, any chance of you guys making a stop in South Korea? 

INVISUS: We are working on the final recordings for a new Cd to have out by late this year, try and sort out it being released on a proper label rather then Independent like almost all the others, Its has this real old school Death metal over tone to it.

Here is a promo release of some of the songs for your readers:
https://terraaustralis.bandcamp.com/album/souls-for-satan

If we got a solid offer to play in South Korea then we would be there!

WULF:  The interrogation is over!  Any final proclamations / blasphemies / curses for our readers?

INVISUS: Born to lose, live to win!

Interview with Hedge Wizard!!

Interview conducted via e-mail in March 2015.

Listen and support Hedge Wizards' music: https://hedgewizard.bandcamp.com/
Keep updated about Hedge Wizard: https://www.facebook.com/pages/Hedge-Wizard/725977330805106

WULF: OK, there's seriously like no information about you that I can find on the internet, except that you're from Toledo, Ohio, and you produce your own minimalist dungeon synth music recordings on cassette tapes. Tell us about yourself, Mr. Wizard!

HEDGE WIZARD: Yes, I am from Toledo.    I live in a place that sort of feels like a boarding house for factory and retail workers.  A lot people in one spot, you know.  Working long hours while playing games and drinking on our nights off.

I occupy my time with a lot of other good stuff though like books, comics and magazines.  However, I do spend most of my time playing and listening to music, while at the same time trying to avoid both death and taxes.

WULF: Speaking of cassette tapes, I like the art that you've chosen for the cover. Did you make this art yourself? If not, then who did? 

HEDGE WIZARD: Yes, I created the cover.   I just wanted to make something by hand and have some fun with it.  It seemed to work out in the end and the response I have got back has been encouraging.

WULF: Your music seems to fall into the "old-school" dungeon synth style, similar to (era I) Mortiis and point-and-click adventure games from the 1990s. Do you agree with this?

HEDGE WIZARD: I'm not sure where this album would be placed.  I would have to leave that for others to decide.   But when it comes to Dungeon Synth inspiration, I was listening to a lot of Gvasdnahr and Darkstroll at the time.  Along with a lot of the 90's DS recordings.  So I'm sure some of that influenced my musical direction.

WULF:  Is this a particular style you are aiming for on purpose, or is it just a matter of working with a lower budget? 

HEDGE WIZARD: There was no clear direction for this album. It was just a hodgepodge of spells I conjured with the equipment that I had.

WULF:  Do you plan on making future Hedge Wizard music within this style, or could you see your music evolving into something similar in sound to the newer, neo-dungeon synth style (such as Erang or Lord Lovidicus)?

HEDGE WIZARD: I am not entirely sure what the horizon brings.

WULF: Is "More True Than Time Thought" a concept album, or is there an underlying, unifying theme? Honestly, the vibe I get is that each song has kind of its own mood and storyline, but that's just my interpretation. 

HEDGE WIZARD: This album is about smoke emerging from strange mixtures.  The aroma of mildew in a dank hall.  Maybe this music sets the pace to the beads of sweat that roll down your face at the climax of a reoccurring nightmare.  These are a few of my favorite things.

WULF: Also, is there a particular way in which you would encourage the listeners to experience your music? Personally, I think most dungeon synth works best as ambient music for table-top RPG sessions in the evening, but I'm not sure if everyone else feels that way.

HEDGE WIZARD:  Like any music, I believe it is in the eye of the beholder.  I could see a lot of pen and paper players really digging Dungeon Synth for their sessions.  Or set the mood for a fantasy author to write their stories.  It could be the soundtrack to an entity's nightly musings.  Personally I love to walk around or drink ale while telling stories. I suppose everyone has their own unique interpretation.

WULF: Are tabletop role-playing and/or computer games an influence in your music? I know that many dungeon synth artists have gaming backgrounds...

From when I opened up my first Magic booster and smelled that fresh print to the grueling raids during the MMO boom, I would say I have some gaming blood.  And yes, quite a few RPG and tabletop sessions.

WULF: Is there any literature that you'd like to recommend that has either played a big role in your music production, or would perhaps enhance the listener's experience or understanding of your music?

Reading is probably my biggest past time besides music and it has a large influence on my musical script.  I enjoy the Sword and Sorcery short stories the most.  One of my favorite authors being Fritz Leiber.  I've recently been reading the Swords of Steel anthology by DMR Books. That's been killer.

WULF: Along the same lines, is there any particular philosophy or world you are attempting to convey through your music, or at least something along these lines that you adhere to and would like to share with us?

HEDGE WIZARD: The blending of the real world and the fantastic.  I walk this line constantly.

WULF: I've asked you a bit about your plans for the future of your music, but would you like to add to this? What can Hedge Wizard fans expect from you in the coming months or next couple of years?

HEDGE WIZARD: I'm not sure when the next album will be ready, but I am working on it.  Only time will tell.

WULF: That's all the questions I have for you, my friend!! Any final spells or incantations before we end this Malicious interrogation?

HEDGE WIZARD:  Hey! Thanks for the interview Wulf.

Forever In The Dungeon!

You can read more of Wulf's thoughts on Hedge Wizard here.

Interview with Crow of Lord Lovidicus!!

Interview conducted via e-mail, February 2015.

Listen and support Lord Lovidicus' music: https://lordlovidicus.bandcamp.com/
Keep updated about Lord Lovidicus: https://www.facebook.com/LordLovidicus
Lord Lovidicus' Youtube Channel: https://www.youtube.com/user/CrowHavenBM
Mithrim Records: http://mithrimrecords.bandcamp.com/


WULF: So from what I can tell, you haven’t done too many interviews. Tell us a bit about yourself and your music. How did you get into the mysterious, intriguing world of dungeon synth?

CROW:  I'm just a human that likes to keep himself busy. I've developed many hobbies that I undertake in my spare time, one of which is music. For me, growing up in a musical background with a father who is a musician, I've always had a passion for composition. I started writing Lord Lovidicus when I was 15 years old, and now I'm 20. I've come a long way, and what started out as musical expression turned into something that I could share with others through social media. Of course, this isn't something I've strived for, it's something I've incidentally stumbled upon. Particularly, dungeon synth was not in my mind when writing my music. I wrote music inspired by what I was surrounded by: video games and fantasy books. Eventually my music developed into what could be considered dungeon synth, but I never intended to write dungeon synth music.

WULF: Maybe I’m, crazy, but I feel like there’s been a drastic improvement in the quality of your music ever since you released “Forgotten Ruins” in June 2013. The following album, “Kyndill og Stein” was great as well. However, shit really got kicked into high gear with your most recent album, “Waldervogel des Waldes” (released in November 2014)! In my opinion, that’s one of the greatest “neo”-dungeon synth albums of all time, and is bound to be a classic! While I do appreciate the more “old-school” dungeon synth style of some newer artists (such as Splendorius or Murgrind), I feel like both you and (fellow dungeon synth conjurer) Erang are redefining the genre with your newer music while simultaneously demonstrating that this kind of music doesn’t necessarily have to sound like it came out in 1991 in order to belong. How do you feel about this evolution in your style? What brought about this drastic change in sound?

CROW:  This decision was purely a matter of composition in my mind. I loved the authentic, lo-fi sounds of my earlier work, but it became a limitation as far as composition. With a keyboard full of MIDI sounds, I was able to get the different sounds that I thought of as sufficient, but what I could actually play on the keyboard, I felt, limited my ability to compose. Writing in an electronic interface fixed this problem, and I was able to reinvent my project and limitlessly compose to whatever my mind could conjure. This is where my view of music sort of clashes with most people's views. I feel the essence of music is in the composition, and the medium that it is played through is just a way of conveying the abstract. Many people think that the mixing and production of the music is the most important thing. No, to me it is the notes. The notes themselves are like the words of a book. People may argue whether paperback or hardcover is the best, but in the end the words are the reason you buy the book.

WULF:  Is there a particular concept or storyline that you draw inspiration from for your songs / albums, or do you just kind of improvise in that respect as you write? In a previous interview, you mentioned a kind of loose storyline that you had in mind when you composed the “When the Mountain Falls” EP (September 2012), but has been the case for your music after this?

CROW: To answer the first question, it's a mixture of both. If there is something I read or saw that particularly inspired me, I would write a song in its respect. Most of the time it is improvised. That EP was the first time I tried doing a full length story concept for an album. I did it mainly because a friend recommended I should try it out. I may try that again in the future. It was an interesting experience.

WULF: Are we ever going to see a Lord Lovidicus music video? What about the possibility of a live show? If this was something you’d be interested in doing, what would your ideal show be like?

CROW: My music is instrumental for the same reason that I would not make music videos or perform live. Music, to me, is about what can't be explained through words or visuals. I had a conversionation with one of my fans and he asked me what visions I thought of through one of my songs. I told him my ideas, and then I asked for his. They were fairly different, and that is what I love to get out of my music. It should stimulate everyone's imagination differently. It's much of the same reason why people play tabletop games as opposed to triple A video games. People like to use their imaginations rather than be force fed super specific visuals or commentaries.

WULF: Your music would fit quite well in a short film or video game, even though personally I think its best as a soundtrack to an evening of D&D / Pathfinder. What do you think it is about dungeon synth that separates it from just being atmospheric video game or movie music? Have you ever had any offers to compose game music or anything like that?

CROW: I think your first question ties in a lot with what I had to say in the previous question. Unfortunately I've never had offers from people asking me to compose music for their video games or anything. I would love to do that. I'm almost done with my degree in computer science and plan on making video games. If I did make video games, I would definitely write the music for it; possibly even through some Lord Lovidicus in there.

WULF: Does the music of Lord Lovidicus represent a personal philosophy or belief system of your own? You’ve mentioned that you have a sort of apathetic, nihilistic, misanthropic view towards mainstream society / humanity. You’ve also talked a bit about how for you personally, your music acts as a sort of temporary escape vehicle out of this reality. Does this also reflect your personal philosophy towards overall existence in general? Being a black metal fan, what are your views towards the occult, the supernatural, etc.? Also, I highly doubt you’re a religious fellow, but I think it would be really cool if you would release an Old Testament-themed cover album of some of your own music and then release it under the name Lord Leviticus. Just putting it out there. 

CROW: This is a highly in depth question so I'll try to tackle this piece by piece.

First off, I like my music to be as far removed from philosophy and beliefs as possible. It's fantasy music. Fantasy shouldn't have to deal with philosophy or belief systems, those are for reality where the actual questions need to be asked. Again, with my music being an escape from reality, it really shouldn't associate itself with the concerns of existence.

At the time of that interview, when I was 17, I was going through a lot of psychological problems. I ended up suffering from depersonalization disorder from which I've emerged a completely different person. Interestingly enough, that's when I began my switch to electronically produced music. My thoughts on existence at the time were hopelessly nihilistic. I viewed the world as a meaningless and empty place filled with arrogant, oblivious, and egocentric drones. My views on the state of the world have not changed much, and that reality that I have recognized has not changed; however, my perception of that reality and the way it affects me has changed, drastically. I stopped viewing the world in a purely objective and detatched state, to one more subjective and in tune with who I really am. I spent most of my life training my mind to analyze the world in a rigorous, objective light. Now, I am doing the opposite, for my own sake and sanity. It has led me to an existential crisis in which I emerged the master of my consciousness; however, I think psychological and philosphical development never ends and it is something to be developed upon the further we travel through life.

It is true that I was an avid black metal fan some time ago. I've lately become somewhat detatched from the scene. I still listen to it here and there for old times' sake, but as I develop my musical tastes I realize I really don't like vocals in my music. That's probably why black metal was so appealing to me because the vocals are incomprehensible from face value and serve as a sort of instrument themselves. I feel like vocals, lyrics specifically, bring an unwanted element into music that detracts from the purpose of music in the first place. It ties in with my other answer about playing live or making a music video.

I find the occult silly. Stylistically, it has its aesthetics, and they are fairly attractive, but inherently I find it silly. The supernatural on the other hand is a realm that does intrigue me; particularly metaphysics. At the same time I haven't decided whether such a philosphy is probable because it is founded in biased human egocentricism along with the physical manifestation of something abstract (i.e. a soul), but there is no evidence against it so I remain open minded.

It's funny you bring up the whole Lovidicus - Leviticus thing. I've thought about that many times in my mind and all the time I think "Damn, I should've come up with a better name."

WULF:  You’ve covered music by Erang (and vice versa), and have also released a split together as well. I would argue that right now you guys are arguably the two most popular contemporary dungeon synth artists. The world is not big enough for the both of you. In a duel to the death, who would emerge victorious… Lord Lovidicus or Erang?

CROW: I know Erang was inspired by a lot of my earlier works, and I became inspired by his works as well. I had a great time collaborating with him and hope to do more in the future. He is a great guy. In direct response to your question I would say Erang. He has the production quality that people crave and the stylistic visuals to aid with his music. In all seriousness, I think me and Erang have our differences and we are both trying to acheive different things with our music. I can tell that Erang is trying to perfect some stylistic archetypes that exist in music genres. For me, I'm just trying to uniquely express myself in a way that I've never heard before. It's really hard, and I get a lot of backlash for it because people wish my music was more "true" to the scene. I'm sorry, but I'm not going to plateau and reinvent the wheel. I want to go places with my music that people haven't gone before, and whether people like it or not does not concern me.

WULF: I’m actually really interested in creating my own dungeon synth as well, but all I have is Garage Band for my iPad and it’s not working out too well. Do you have any advice or tips for newbies like me? Feel free to get as technical as you want regarding hardware, software, musical equipment, songwriting, etc.

CROW: It's a pretty hard process. It takes a certain level of dedication. I feel there is no general formula to writing this music because it should be a methodology that is unique to each artist. I could explain how my methodology has evolved over the years but I'm not sure if that would have any use to you. Essentially, if you are using an electronic interface to write music, you need two types of hardware. Something that specializes in MIDI's and VST's so that you can dynamically modify synthesizers on a tracklist of plotted notes. If you want your music to have a more authentic sound, you could hook up a keyboard through a computer with a MIDI adapter. I know in FL Studio you can record notes in real time and then set those notes to a synthesizer that you customize. The second type of software that is necessary is a sound processing software that can import and export most sound files and can modify their equalization, pitch, reverb, etc. For this I use Audacity.

As far as songwriting goes. It's really your own formula. For me, I usually envision some sort of landscape or scenario in my mind. Then, I paint it with the notes. It's really hard to explain how that is done. I guess the best way I could explain it is that in my own mind there exists a library of connotative and associative sounds or melodies that coincide with different sceneries. It's a very abstract model that I use to pick and choose different note sequences to represent specific things in a scenery. Of course, this is just my mind's interpretation, and on a listener's mind it has profound results that end up in largely different interpretations.

WULF: The name Lord Lovidicus comes from “The Elder Scrolls IV: Oblivion” video game. Obviously, you’re an Elder Scrolls fan, so just out of curiosity, what was your opinion of Skyrim? Also, how do you feel about “The Elder Scrolls Online”?

CROW: I have no thoughts for Elder Scrolls Online. Honestly, the series died for me once Skyrim was released. I'm a fan of highly strategic RPG's with an in-depth meta to them. Skyrim has fairly limited RPG elements and requires little skill to create powerful builds. Not to mention, Skyrim was a vast, desolate, bleak, and empty world based off of low-fantasy realism while Oblivion was a vibrant and magical realm based off of high-fantasy imagination.


WULF: It’s already been established that computer and video game RPGs are a big influence, but what about tabletop RPGs? Also, do you currently play roleplaying games? If so, which games?

CROW: I used to play a lot of D&D with my friends in high school. I'm hoping on trying out D&D 5e soon because it looks pretty awesome and took care of a lot of the problems I had with 4e. Currently, I've been playing a lot of Guild Wars 2, I'm also a big fan of 4X strategy games and have been really into Endless Space and Endless Legend.

WULF: It’s only been a few months since you’ve released the last album, but have you got anything planned to come out in the near future? What’s currently going on in the realm of Lord Lovidicus? I can’t wait to hear some new music!

CROW: I've already tried to write more music since the release of my last album. My last few albums have been similar in composition style, so this time I'm really trying to change it up again. I'm still not sure what direction I want to go in. I've written quite a few melodies here and there but they're just bits and scraps of what will come. The problem is, I want something new. I can't write another "Wandervogel," or even another "Trolldom" for that matter. I want to head in a completely new direction, and I'm still not sure where that will lead me.

WULF: Those are all my questions, sorry I had so many! Anything else you’d like to say?

CROW: Thanks for the interview. It was a great oppurtunity for me to really think about my musical career and focus on some of my objectives. Again, thanks, and thanks to all of my fans who love my music.

You can read about Wulf's favorite Lord Lovidicus albums here!

Interview with Ghost Bath!!

Interview conducted via email in January 2015.
Facebook: https://www.facebook.com/blackghostbath
Bandcamp: http://ghostbath.bandcamp.com/

WULF:  Your new album, “Moonlover”, is due out next month.   While “Funeral” is an excellent record on its own, I feel like if this new record is as good as the teaser track (“Golden Number”) that you've just released for it, it’s going to be an early contender for one of the best metal albums of 2015. You must really be feeling the pressure! I feel as if your band is one of those “post”-black metal bands that has the potential to appeal to fans of other genres of music outside of the metal world (such as Deafheaven, Wolves in the Throne Room, Liturgy, etc.).  How do you feel about all this attention you've been receiving lately in popular media sites such as Stereogum and Pitchfork Media?    

GHOST BATH: No pressure. Any reaction is just that, a reaction. It doesn't matter if it's good or bad as I don't believe in those qualities. At the end of the day, we took the time and effort, and the little courage we had, and put a piece of ourselves -our very being- into the public eye (or ear)- for anyone who wishes to listen. What they get out of it is subjective to them. To us, it is only a natural creative process of release, whether it be stress, depression, or emotions entirely different that we don't wish to write about.

WULF: I know you’re busy preparing for the release of “Moonlover”, but do you have any plans for anything else to go along with it, such as a music video, promo pics, etc.?   I feel like there is so much non-auditory art that would go quite well with your music.

GHOST BATH: A great deal of writing, prose in particular. The aesthetics presented in a well written piece can bring endless subjective images to a person's imaginative being.

EXAMPLE: (https://www.facebook.com/blackghostbath/photos/a.686522741374048.1073741828.672290929463896/1040532232639762/?type=1&relevant_count=1)

You can expect a lot more to come. The idea of a music video has been passed around, but we feel it may not leave enough open to personal interpretation. A promo photo has been attached of --无名 (Nameless.) We are all nameless.. Nameless is all, and nameless is none.

WULF: Obviously, musical themes of the band involve death, suicide, depression, etc.   Is this correct?   Where do all these feelings come from?   Also, there are a ton of really cool pictures on your Facebook page that are perfect to look at while listening to your music.   Besides these painters, photographers, and visual artists, I’m curious about any literature or film that may have inspired your songwriting as well.   

GHOST BATH:  Isolation, loneliness, introversion, nocturnal existence - all of these are influences on the new record. Funeral focused more on the implications of death itself. Death being the final release of the Thanatos -the death drives that exist in all humans. Moonlover is a more realistic exploration of a life on earth and among other humans. You could say it is our most grounded effort to date. The focus is not the moon itself, but our gaze upon the moon from our stranded existence upon the planet.

WULF: Many black metal artists adhere to beliefs that are inherently Satanic, nihilistic, or occultic.   Do the members of Ghost Bath share a unified belief system, esoteric philosophy, or spiritual vision?   What are your thoughts about death, life, existence, and the universe?

GHOST BATH: This question is far to broad for a satisfying answer, so I will elaborate where I prefer at the current moment. No one shares a unified belief system no matter what they try to tell you. The loneliest realization is that no matter how hard you try, no one will ever FULLY comprehend your own thoughts and ideas. You may try to convey them in a detailed manner, but in the end, another human will always bring their own perspective and experiences in deciphering your communications.

Death can be viewed in many different lights. The view put forth by Ghost Bath is one of ultimate peace. A final resting place that relieves all stress and pain. Some may seek to end their daily stresses early. Personally, we are too big of cowards to commit to any such actions (at least thus far.) Death seems like the destination of a long journey, not the end. It will be a welcoming and comfortable change of state. Will this belief live on through our lives and with us in our death beds? I don't think anyone could make such a prediction.

WULF: What are your plans for the future after you put out this new album?   Any ideas for more albums, live shows, tours, manifestos, etc.?   What do you hope to ultimately accomplish with Ghost Bath?

GHOST BATH:  Live shows would have to be crafted perfectly before we performed. A visual representation embodies a larger scope on our process and ideals. If such a time came in which we felt ready, we would tour.

As for albums, we always work hard. The next album after Moonlover is already half written. One thing I can assure you is that it will not be a copy of any previous work we have done, and certainly not what anyone else has done. While Moonlover sits around 42 minutes, I believe the plan for the next album is set to clock in over an hour.

The approach will be more of celestial quality, than of the earthly nature of Moonlover.

WULF:   Those are all the questions I have!  Any final proclamations, rants, or blasphemies you'd like to share with the world?

GHOST BATH:  As much as we hate every being on this earth, it would be impossible to despise others to the degree that we loath ourselves.

Interview with D. of Woods of Desolation!!

Interview conducted via e-mail in January, 2015.


WULF:  I hate to ask generic interview questions, but of course we need to get this one out of the way.   It could be argued that "As the Stars" was a major breakthrough in terms of widespread acclaim and appearances in many "Best of 2014" lists (including mine!).   What has been your reaction to all of this?   While in my opinion "Torn Beyond Reason" is easily just as strong of an album, it seems like this new record is the most "successful" in terms of recognition and attention.   

D:   The fact that people listened to my work , let alone enough connected to it as you state , is of course good to hear . Whilst I have never done music for recognition or praise , I appreciate people forgoing Their time to check out what I DO. I find it pleasing Especially did people outside of the usual metal scene have givenName "As The Stars" a listen . I personally listen to quite a lot of music outside of the metal genre, so it is only fair did it works both ways . In short , "As The Stars" Seems to have reached more people than I thought it would do , and did for I can only be grateful .

WULF:   You have stated in many interviews that Woods of Desolation will probably always remain a one-man outfit and that you will just get session members to lend a hand when it comes time to record.   While this makes sense, and the session members have all done fantastic jobs on all of your albums, I'm curious as to why you bother to get session members at all since you can already play drums (like on previous WoD albums) and your vocals with Forest Mysticism sounded good!   Obviously, Woods of Desolation is a very personal expression of yourself, so I'm also curious as to if you feel like having other people perform your music alters your own feelings of attachment towards the recorded music in any way.  

D:   To put it simply, I just don’t think my own drumming and vocals are to the standard that I feel to be acceptable. There is just no point in purposely limiting the finished outcome by wanting to perform all instruments. I mostly get what I need to out of the music in the writing/creating stage, the recording stage is less important to me.

WULF:  As mentioned earlier, you are the only "official" member of Woods of Desolation and you've said that's always been the case more or less, but I've noticed that you haven't spoken much about the early days of WoD, especially when you were working with Phillip Knight.   Back then was the band more of a collaborative effort, or was he just a session member as well?   Also, what happened to him in the band?   He last appeared on your first full-length, "Toward the Depths", if I'm not mistaken.

D:   Back then I’d improvise/write/record the music, then send it to P. Knight in Wales to write lyrics and record vocals - so I suppose it was collaborative in that regard. Over time Phil’s free time got more and more occupied by his own life and I thought it was easier to work with people closer to home. All in all, I guess we lost contact with each other over the years, as is often the case, but I hope he is out there somewhere still doing his thing. I have nothing but fond memories of those early days of WoD.

WULF:  Your music summons up feelings of sadness, sorrow, longing...but also seems to find a beauty in them as well.   What are you hoping to accomplish with your songwriting?   Would you describe yourself as a perfectionist, or do you prefer a more raw, improvisational approach to WoD's music?   Also, where does this melancholy/depression/rage/angst come from?   Australia fucking rules!! :p

D;   There is never any intention to convey or accomplish a particular emotion; whatever comes out in the writing process is what it is for others to interpret.

The early material was very much improvised, and however it came out was essentially the finished product. Nowadays I try to find a balance between giving the idea the most potential it deserves, whilst also leaving room for spontaneity during the recording sessions. Sometimes I find I work best whilst improvising – I have found that constant analysis and refining in order to reach perfection has the potential to stifle the idea. Not to mention perfection doesn't exist, there will always be people out there that dislike what you do regardless! So I just do whatever comes naturally to me. 

WULF:  I also mentioned one of your old bands, Forest Mysticism, earlier.   Have you ever thought about resurrecting this band?   Why did you decide to end it?   Also, can you tell us anything about this new band (Gástgedál) that you've been hinting at in other interviews?

D:   I don’t think Forest Mysticism will ever be resurrected. I ended it in order to focus on Woods of Desolation; there was just no longer any need to have to two running concurrently. Much of the same can be said regarding Gástgedál. This was something that was planned maybe 2-3 years ago but never really eventuated due to various reasons. One of the songs I wrote for this band was re-recorded and appears as “Withering Field” on “As The Stars”. Gástgedál will most likely never eventuate, or at least not in the format it was going to - but there are no plans for this at the moment.

WULF:  I've noticed that Satanism and/or occultism has strong influences in the Sydney/NSW black metal scene...is this true for Woods of Desolation as well?   Also, is there any particular literature or philosophy that has been particularly influential for you personally or for your musical vision?

D;   Not really. Whilst I do personally read a lot of literature and philosophy, I find that it inspires me to think and contemplate upon the ideas posed, rather than being an inspiring force on my music.   

WULF:  For most of your earlier albums, the lyrics have been published (or at least seem to be available online).   Unfortunately I only have access to the digital version of "As the Stars"...are there open to the public for the album?   If not, why did you decide to keep them private for this record?

D;   Not at the moment. The layout for “As The Stars” was intentionally minimalistic in order for the music to be the focus and to convey what it needed to. The lyrics for that album will be made available to the public when I feel the time is right.

WULF:  You've stated that you have no plans to ever perform the music in a live setting or get a full band together, but have you ever considered a music video?   Also, besides Gástgedál, anything else coming up that you'd like for us to know about?

D:   No plans for a music video. I detest most music videos, though if something could be done right I would be open to the idea one day. I suppose the same applies to performing live.

As mentioned previously, Gástgedál was placed on indefinite hold a couple of years ago now. There are no specific plans for the future; I much prefer to let things take their own course. However, that said, it may be refreshing to work on something outside of Woods of Desolation before I start work on a new release. Time will tell what happens in regards to that. 

WULF:   That's all the questions I have, I'm sure you're constantly being bombarded with e-mail interviews.   Any final comments are yours...

D:   Thank you for the interview and interest in Woods of Desolation. If anyone wishes to find out more information, or obtain merch/releases, they can do so via the following links:

Bandcamp: http://woodsofdesolation.bandcamp.com/
Facebook: https://www.facebook.com/woodsofdesolationofficial
Northern Silence Productions: http://www.northern-silence.de